C-Log3 looks closer to finished than any other log format, which is exactly why so much of it is graded wrong: the decode error is subtle enough to leave in. These eight bake the full C-Log3 and Cinema Gamut conversion — curve and gamut, not just the curve — into a single .cube, so one node takes you to the image Canon colour is bought for.
A conversion kit first, with three finishes on top. Canon colour lives in the Cinema Gamut matrix, and it is the step a curve-only LUT drops: skin goes yellow-orange and reds lose their separation, so Skin Priority steers the orange band back toward red instead of pushing the whole frame. Base ISO in C-Log3 is 800 on the hybrid bodies and the shadows are clean there, so nothing here assumes the overexpose-and-pull-down habit — Low Light is for the second gain and beyond. Golden, Cine Print and Street Doc are the three looks Canon shooters ask for by name, each still carrying the correct decode underneath. The kit is for C-Log3 recorded in Cinema Gamut: set the camera’s Canon Log colour space to Cinema Gamut. C-Log3 recorded in BT.2020 or BT.709 will look over-saturated through these files.
The 8 LUTs plus any album you choose, with its own licence. We suggest Chill, and you can swap it at checkout.
Get the bundleOne-time purchase. No subscription.
The pack downloads at the strength you choose. Test it on a frame of your own footage, pick 50, 70 or 100% (or anything between) and every grade is built at that strength — or set one grade at a time in the LUT Library. The look then works at your strength even in camera apps and editors with no LUT-intensity control, and pulling it back never washes out the log conversion the way an editor's mix slider does.
When you download the pack, you pick the strength it's built at.
Every look renders with the same engine as the .cube download. Free looks download instantly — PRO and STUDIO looks unlock with the pack or a plan.
The sample frame is an illustrative still, not footage shot on the camera named above. Load your own frame for a true preview. Image credits
The accurate decode — C-Log3 and Cinema Gamut to Rec.709, correct contrast and colour, nothing else added. Canon colour as the sensor recorded it. Grade on top if you want a look.
Ready to post — the neutral decode with the contrast and density a finished shot needs, so there is no second node. For correctly exposed footage going straight out.
The one for faces. Pushed C-Log3 skin drifts yellow-orange rather than magenta — this steers the orange band back toward red, calms the yellows behind it, and leaves the rest of the frame alone.
A hard shoulder with desaturated highlights, for windows, skies and practicals that would otherwise clip to a white hole. The interior-and-window grade.
For the second base gain and beyond. A lifted toe so shadow noise stays grain instead of turning to mud, with shadow chroma pulled back so it reads as texture rather than colour blotches.
Late light, kept honest. Warmth in the highlights and skin, blues eased back so the sky does not fight it, a touch of density in the mids — the look Canon colour is bought for, without pushing it into orange.
A print-stock finish on the Canon decode: dense mids, cool shadows against warm highlights, greens pulled toward olive, saturation held back where a print holds it back. For narrative and anything meant to feel projected.
The documentary grade: a hair cool, punchy mids, restrained saturation with reds kept alive, shadows that stay readable. For run-and-gun interviews and city work where the light was not yours to choose.
When you download the pack you test it on a frame of your own footage and pick one strength for every grade; in the LUT Library each preview has its own slider (0–100%). Whatever you set is rendered into the files themselves — regenerated at that strength, named accordingly (e.g. _70pct.cube), and looks identical in your editor to what you saw in the preview.
Why bake it in instead of using your editor's LUT-mix slider? Two reasons. Many tools have no per-LUT strength control at all — DaVinci Resolve hides it behind node key gain, and camera apps that load monitoring LUTs have none. And on log footage an editor's mix slider blends back toward the flat, grey log image, washing out the picture; our blend keeps the full log-to-Rec.709 conversion and fades only the creative grade on top of it.
Want the full-strength version too? Download again at 100% — each strength gets its own file names, and downloads are unlimited once you own the pack.
All 8 are standard 3D .cube files, so they load in DaVinci Resolve, Premiere Pro, Final Cut Pro, CapCut, Filmora and anything else that reads .cube — including camera apps that take a monitoring LUT.
No. Each grade in this pack bakes the full C-Log3 → Rec.709 conversion into the same .cube as the look, so it is one node in Resolve or one adjustment layer in Premiere — never a conversion LUT stacked underneath a creative one.
Canon R5 II · R6 II · R8 · R50 V · C70 · C80. The grades are authored against C-Log3 footage from those cameras, so shoot in C-Log3 — not HDR or Dolby Vision — for the decode to land correctly.
Not in this pack — the free grades are the camera conversions, one per camera pack, collected at https://ireelz.com/luts/free. Everything here is a creative look, which is the part the packs sell.
Yes, before you download. Set 50, 70 or 100% in the preview and the .cube is regenerated at that strength, so it holds in CapCut and Filmora, which cannot dial a LUT back. On log footage this also beats an editor's mix slider, which fades toward the flat log image and washes the picture out.
$24 once. It is a one-time purchase, not a subscription, and re-authored versions replace your files in place at no cost. It is also included with a Creator Pro plan.
Cinema Gamut. Every file in the kit decodes C-Log3 from Cinema Gamut, so set the camera’s Canon Log colour space to Cinema Gamut before you shoot. Canon cameras can also record C-Log3 in BT.2020 or BT.709; that footage will look over-saturated through these files.
Graded footage still gets claimed for its soundtrack. Original music with a licence in your name — start with the free tracks.